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This was a sort of follow-up to the original Trek series, which ended
in '69, using, to a large extent, the same characters and time frame of
the original 5-year mission; in fact, this is the closest we got to a
4th season of the original show. It's somewhat of a shame that this
batch of 22 episodes is largely considered non-canon in the Trek mythos
(there are exceptions: Capt.April, introduced/depicted in the last
episode, is now regarded as the actual 1st captain of Enterprise
NCC-1701 and Kirk supposedly acquired his middle name 'Tiberius' in the
episode "Bem"). I suppose this may stem from an attitude of regarding
animation as a different universe from the live action stuff - a less
realistic universe, maybe. But, in spite of many comments dismissing
this series as aimed for children, there's no degradation in script
quality or thought-provoking ideas. In fact, the main difference, for
me, was less use of violence or brute force to get the ideas across as
the stories progressed. So, in some ways, this series adhered even more
to Roddenberry's concept - the use of our minds and powers of speech to
address various problems, cosmic or otherwise. Indeed, some of the
episodes ("The Time Trap") fairly preached a sense of higher morality
that humanity should follow. All the regular actors of the original
(except Walter Koenig) returned to voice their characters, so, even in
the acting dept., there was very little reduction in quality. The show
also utilized the talents of many of the same writers, such as David
Gerrold and DC Fontana. Koenig even had a script produced (the episode
"The Infinite Vulcan").

Of course, many point to the limited animation (by Filmation) as the
reason for the lack of action. Filmation was clever in reusing the same
stock poses and movements of characters, placed over some impressive
background paintings. The obvious advantage to the show was in
depicting landscapes and giant creatures which were not possible on the
original series, as well as ideas such as shrinking the crew ("The
Terratin Incident"). The actor James Doohan voiced a multitude of other
characters besides Scotty (Doohan was close to being overused), as did
Majel Barrett, and Nichelle Nichols & George Takei also got into the
act; you heard Takei as a Klingon in one episode and Nichols as a god
in another. But, they did bring back a few key actors for guest roles -
Mark Lenard as Sarek, for example, Stanley Adams as Cyrano Jones and,
of course, Carmel as the conman Harry Mudd, in episodes which
functioned as sequels or follow-ups to original series episodes ("More
Tribbles, More Troubles" and "Mudd's Passion"), but these actors were
not credited (stock credits at the end of each episode). We also
revisited the "Shore Leave" planet in "Once Upon a Planet." Chekov (and
Koenig) seemed to be away on leave in these episodes (budget cuts!);
instead, we saw the feline M'Ress and the extra-limbed Arex as part of
the bridge crew. One bit of progressive evolution involved a more
aggressive approach by the female characters: Uhura took command in one
episode ("The Lorelei Signal") without so much as a by your leave and
Nurse Chapel even karate chops the scoundrel Mudd in "Mudd's Passion" -
so much for non-violence. What a difference just 4 years makes - clear
evidence of the female liberation movement - right here in Trek!

But, the most eye-popping sequence of scenes for me was something I'd
forgotten, until viewing "The Practical Joker" episode again: here we
see the first use of a holodeck, in the Enterprise's 'recreation room.'
So, this was not invented for the TNG show over a dozen years later!
The TNG creators took the idea from an earlier Trek series! Many of the
episodes were suffused with humor, usually very subtle for a supposed
children's show, and main actors Shatner, Nimoy and Kelley were
probably attracted to the material because of this adult approach. No,
this certainly was not just a kid's show. The best episodes:
"Yesteryear" - re-utilized the Guardian of Forever from "The City on
the Edge of Forever" original episode, including another mind-bending
time travel paradox and an expanded look at the planet Vulcan; "The
Slaver Weapon" - a reworked Larry Niven science fiction story of stasis
boxes containing ancient items, involving an ultimate weapon, and a
great new villainous race in the Romulan/Klingon mold (but taking
advantage of animation), with only Spock, Uhura and Sulu appearing as
the regulars; "The Jihad" - exciting 'quest' action epic, which,
despite the limits of the animation, was still as tense and suspenseful
as many of the live action episodes; and "The Eye of the Beholder" - a
unique perspective on zoos and intelligence, in that order; that title
was also used on a Twilight Zone episode. I also liked "The Survivor,"
which used similar story ideas to "The Man Trap," but, as usual,
without any death scenes and resulted in a more poignant version. Yes,
maybe this animated series reused too many story ideas from the
original, but it was still darn good Trekking. We had to wait another 5
years for the next new Trek vision - "Star Trek the Motion Picture" in
'79.

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